The most important resource was, of course, the actors themselves. They needed many skills: in the words of one contemporary commentator, "dancing, activity, music, song, elocution, ability of body, memory, skill of weapon, pregnancy of wit." Their bodies were as significant as their voices. Hamlet tells the player to "suit the action to the word, the word to the action": moments of strong emotion, known as "passions," relied on a repertoire of dramatic gestures as well as a modulation of the voice. When Titus Andronicus has had his hand chopped off, he asks "How can I grace my talk, / Wanting a hand to give it action?" A pen portrait of "The Character of an Excellent Actor" by the dramatist John Webster is almost certainly based on his impression of Shakespeare's leading man, Richard Burbage: "By a full and significant action of body, he charms our attention: sit in a full theater, and you will think you see so many lines drawn from the circumference of so many ears, whiles the actor is the centre...."

  Though Burbage was admired above all others, praise was also heaped upon the apprentice players whose alto voices fitted them for the parts of women. A spectator at Oxford in 1610 records how the audience was reduced to tears by the pathos of Desdemona's death. The puritans who fumed about the biblical prohibition upon cross-dressing and the encouragement to sodomy constituted by the sight of an adult male kissing a teenage boy on stage were a small minority. Little is known, however, about the characteristics of the leading apprentices in Shakespeare's company. It may perhaps be inferred that one was a lot taller than the other, since Shakespeare often wrote for a pair of female friends, one tall and fair, the other short and dark (Helena and Hermia, Rosalind and Celia, Beatrice and Hero).

  We know little about Shakespeare's own acting roles--an early allusion indicates that he often took royal parts, and a venerable tradition gives him old Adam in As You Like It and the ghost of old King Hamlet. Save for Burbage's lead roles and the generic part of the clown, all such castings are mere speculation. We do not even know for sure whether the original Falstaff was Will Kempe or another actor who specialized in comic roles, Thomas Pope.

  Kempe left the company in early 1599. Tradition has it that he fell out with Shakespeare over the matter of excessive improvisation. He was replaced by Robert Armin, who was less of a clown and more of a cerebral wit: this explains the difference between such parts as Lancelet Gobbo and Dogberry, which were written for Kempe, and the more verbally sophisticated Feste and Lear's Fool, which were written for Armin.

  One thing that is clear from surviving "plots" or storyboards of plays from the period is that a degree of doubling was necessary. 2 Henry VI has over sixty speaking parts, but more than half of the characters only appear in a single scene and most scenes have only six to eight speakers. At a stretch, the play could be performed by thirteen actors. When Thomas Platter saw Julius Caesar at the Globe in 1599, he noted that there were about fifteen. Why doesn't Paris go to the Capulet ball in Romeo and Juliet? Perhaps because he was doubled with Mercutio, who does. In The Winter's Tale, Mamillius might have come back as Perdita and Antigonus been doubled by Camillo, making the partnership with Paulina at the end a very neat touch. Titania and Oberon are often played by the same pair as Hippolyta and Theseus, suggesting a symbolic matching of the rulers of the worlds of night and day, but it is questionable whether there would have been time for the necessary costume changes. As so often, one is left in a realm of tantalizing speculation.

  THE KING'S MAN

  On Queen Elizabeth's death in 1603, the new king, James I, who had held the Scottish throne as James VI since he had been an infant, immediately took the Lord Chamberlain's Men under his direct patronage. Henceforth they would be the King's Men, and for the rest of Shakespeare's career they were favored with far more court performances than any of their rivals. There even seem to have been rumors early in the reign that Shakespeare and Burbage were being considered for knighthoods, an unprecedented honor for mere actors--and one that in the event was not accorded to a member of the profession for nearly three hundred years, when the title was bestowed upon Henry Irving, the leading Shakespearean actor of Queen Victoria's reign.

  Shakespeare's productivity rate slowed in the Jacobean years, not because of age or some personal trauma, but because there were frequent outbreaks of plague, causing the theaters to be closed for long periods. The King's Men were forced to spend many months on the road. Between November 1603 and 1608, they were to be found at various towns in the south and Midlands, though Shakespeare probably did not tour with them by this time. He had bought a large house back home in Stratford and was accumulating other property. He may indeed have stopped acting soon after the new king took the throne. With the London theaters closed so much of the time and a large repertoire on the stocks, Shakespeare seems to have focused his energies on writing a few long and complex tragedies that could have been played on demand at court: Othello, King Lear, Antony and Cleopatra, Coriolanus, and Cymbeline are among his longest and poetically grandest plays. Macbeth only survives in a shorter text, which shows signs of adaptation after Shakespeare's death. The bitterly satirical Timon of Athens, apparently a collaboration with Thomas Middleton that may have failed on the stage, also belongs to this period. In comedy, too, he wrote longer and morally darker works than in the Elizabethan period, pushing at the very bounds of the form in Measure for Measure and All's Well That Ends Well.

  From 1608 onward, when the King's Men began occupying the indoor Blackfriars playhouse (as a winter house, meaning that they only used the outdoor Globe in summer?), Shakespeare turned to a more romantic style. His company had a great success with a revived and altered version of an old pastoral play called Mucedorus. It even featured a bear. The younger dramatist John Fletcher, meanwhile, sometimes working in collaboration with Francis Beaumont, was pioneering a new style of tragicomedy, a mix of romance and royalism laced with intrigue and pastoral excursions. Shakespeare experimented with this idiom in Cymbeline and it was presumably with his blessing that Fletcher eventually took over as the King's Men's company dramatist. The two writers apparently collaborated on three plays in the years 1612-14: a lost romance called Cardenio (based on the love-madness of a character in Cervantes' Don Quixote), Henry VIII (originally staged with the title "All Is True"), and The Two Noble Kinsmen, a dramatization of Chaucer's "Knight's Tale." These were written after Shakespeare's two final solo-authored plays, The Winter's Tale, a self-consciously old-fashioned work dramatizing the pastoral romance of his old enemy Robert Greene, and The Tempest, which at one and the same time drew together multiple theatrical traditions, diverse reading, and contemporary interest in the fate of a ship that had been wrecked on the way to the New World.

  The collaborations with Fletcher suggest that Shakespeare's career ended with a slow fade rather than the sudden retirement supposed by the nineteenth-century Romantic critics who read Prospero's epilogue to The Tempest as Shakespeare's personal farewell to his art. In the last few years of his life Shakespeare certainly spent more of his time in Stratford-upon-Avon, where he became further involved in property dealing and litigation. But his London life also continued. In 1613 he made his first major London property purchase: a freehold house in the Blackfriars district, close to his company's indoor theater. The Two Noble Kinsmen may have been written as late as 1614, and Shakespeare was in London on business a little over a year before he died of an unknown cause at home in Stratford-upon-Avon in 1616, probably on his fifty-second birthday.

  About half the sum of his works were published in his lifetime, in texts of variable quality. A few years after his death, his fellow actors began putting together an authorized edition of his complete Comedies, Histories and Tragedies. It appeared in 1623, in large "Folio" format. This collection of thirty-six plays gave Shakespeare his immortality. In the words of his fellow dramatist Ben Jonson, who contributed two poems of praise at the start of the Folio, the body of his work made him "a monument without a tomb":

  And art alive still while thy book doth live

 
And we have wits to read and praise to give ...

  He was not of an age, but for all time!

  SHAKESPEARE'S WORKS:

  A CHRONOLOGY

  1589-91 ? Arden of Faversham (possible part authorship)

  1589-92 The Taming of the Shrew

  1589-92 ? Edward the Third (possible part authorship)

  1591 The Second Part of Henry the Sixth, originally called The First Part of the Contention Betwixt the Two Famous Houses of York and Lancaster (element of coauthorship possible)

  1591 The Third Part of Henry the Sixth, originally called The True Tragedy of Richard Duke of York (element of coauthorship probable)

  1591-92 The Two Gentlemen of Verona

  1591-92;

  perhaps

  revised 1594 The Lamentable Tragedy of Titus Andronicus (probably cowritten with, or revising an earlier version by, George Peele)

  1592 The First Part of Henry the Sixth, probably with Thomas Nashe and others

  1592/94 King Richard the Third

  1593 Venus and Adonis (poem)

  1593-94 The Rape of Lucrece (poem)

  1593-1608 Sonnets (154 poems, published 1609 with A Lover's Complaint, a poem of disputed authorship)

  1592-94/

  1600-03 Sir Thomas More (a single scene for a play originally by Anthony Munday, with other revisions by Henry Chettle, Thomas Dekker, and Thomas Heywood)

  1594 The Comedy of Errors

  1595 Love's Labour's Lost

  1595-97 Love's Labour's Won (a lost play, unless the original title for another comedy)

  1595-96 A Midsummer Night's Dream

  1595-96 The Tragedy of Romeo and Juliet

  1595-96 King Richard the Second

  1595-97 The Life and Death of King John (possibly earlier)

  1596-97 The Merchant of Venice

  1596-97 The First Part of Henry the Fourth

  1597-98 The Second Part of Henry the Fourth

  1598 Much Ado About Nothing

  1598-99 The Passionate Pilgrim (20 poems, some not by Shakespeare)

  1599 The Life of Henry the Fifth

  1599 "To the Queen" (epilogue for a court performance)

  1599 As You Like It

  1599 The Tragedy of Julius Caesar

  1600-01 The Tragedy of Hamlet, Prince of Denmark (perhaps revising an earlier version)

  1600-01 The Merry Wives of Windsor (perhaps revising version of 1597-99)

  1601 "Let the Bird of Loudest Lay" (poem, known since 1807 as "The Phoenix and Turtle" [turtledove])

  1601 Twelfth Night, or What You Will

  1601-02 The Tragedy of Troilus and Cressida

  1604 The Tragedy of Othello, the Moor of Venice

  1604 Measure for Measure

  1605 All's Well That Ends Well

  1605 The Life of Timon of Athens, with Thomas Middleton

  1605-06 The Tragedy of King Lear

  1605-08 ? contribution to The Four Plays in One (lost, except for A Yorkshire Tragedy, mostly by Thomas Middleton)

  1606 The Tragedy of Macbeth (surviving text has additional scenes by Thomas Middleton)

  1606-07 The Tragedy of Antony and Cleopatra

  1608 The Tragedy of Coriolanus

  1608 Pericles, Prince of Tyre, with George Wilkins

  1610 The Tragedy of Cymbeline

  1611 The Winter's Tale

  1611 The Tempest

  1612-13 Cardenio, with John Fletcher (survives only in later adaptation called Double Falsehood by Lewis Theobald)

  1613 Henry VIII (All Is True), with John Fletcher

  1613-14 The Two Noble Kinsmen, with John Fletcher

  FURTHER READING

  AND VIEWING

  CRITICAL APPROACHES

  Adelman, Janet, Blood Relations: Christian and Jew in The Merchant of Venice (2008). Fascinating psycho-theological analysis.

  Auden, W. H., "Brothers and Others," in The Dyer's Hand (1962). Pioneering account of the homoerotic element.

  Chernaik, Warren, William Shakespeare: The Merchant of Venice, Writers and Their Work Series (2005). Useful introduction to text in conjunction with performance issues.

  Coyle, Martin, ed., The Merchant of Venice: William Shakespeare, New Casebooks Series (1998). Diverse collection of influential, theoretically informed essays.

  Edelman, Charles, "Which Is the Jew That Shakespeare Knew? Shylock on the Elizabethan Stage," Shakespeare Survey, 52 (1999), pp. 99-106. Excellent correction of many misapprehensions about the representation of Jews on the Shakespearean stage.

  Gross, Kenneth, Shakespeare Is Shylock (2006). Challenging, provocative, sometimes personal account of Shylock's outsider status making him a kind of double for Shakespeare himself.

  Holmer, Joan Ozark, The Merchant of Venice: Choice, Hazard and Consequence (1995). Focuses on play's genre, structure, and language.

  Janik, Vicki K., The Merchant of Venice: A Guide to the Play (2003). Useful introductory guide with a wide range of material.

  Kaplan, M. Lindsay, ed., The Merchant of Venice: Texts and Contexts (2002). Useful introductory guide.

  Mahon, John W., and Ellen Macleod Mahon, eds., The Merchant of Venice: New Critical Essays (2002). Useful collection of essays covering a wide range of approaches from text to theory and performance.

  McCullough, Christopher, The Merchant of Venice: A Guide to the Text and Its Theatrical Life, Shakespeare Handbooks Series (2005). Useful study guide covering text, history, and performance.

  Nuttall, A. D., "The Merchant of Venice," in his A New Mimesis: Shakespeare and the Representation of Reality (1983). Has a brilliant feel for the realized texture of the world of the play.

  Shapiro, James, Shakespeare and the Jews (1996). Fascinating, detailed historical account.

  Wheeler, Thomas, ed., The Merchant of Venice: Critical Essays (1991). Useful collection of essays from Granville-Barker on text, to Hazlitt on Shylock, up to contemporary productions of the play.

  Wilders, John, ed., Shakespeare: The Merchant of Venice, Casebook Series (1969). Useful selection of early criticism and significant twentieth-century essays up to 1960s.

  Yaffe, Martin D., Shylock and the Jewish Question (1997). Jewish religious scholar, generally sympathetic to Shylock, reads play as a work of political philosophy.

  THE PLAY IN PERFORMANCE

  Barton, John, Playing Shakespeare (1984). Chapter 10, "Playing Shylock," in which David Suchet and Patrick Stewart explore their different approaches to the role.

  Bonnell, Andrew G., Shylock in Germany: Antisemitism and the German Theatre from the Enlightenment to the Nazis (2008). Scrupulously detailed study.

  Brockbank, Philip, ed., Players of Shakespeare (1985). Actors discuss their roles: Chapter 2, Patrick Stewart discusses Shylock; Chapter 3, Sinead Cusack on Portia.

  Brooke, Michael, "The Merchant of Venice on Screen," www.screenonline.org.uk/tv/id/564652/index.html. Summary overview of film and television versions, with links to clips.

  Bulman, James C., ed., The Merchant of Venice, Shakespeare in Performance (1991). Excellent detailed overview of stage history.

  Edelman, Charles, ed., The Merchant of Venice, Shakespeare in Production (2002). Detailed historical overview and annotated text with stage directions from important historical productions.

  Gilbert, Miriam, The Merchant of Venice, Shakespeare at Stratford (2002). Detailed account of RSC productions.

  Gross, John, Shylock: Four Hundred Years in the Life of a Legend (1992). Exemplary detailed account of Shakespeare's Shylock, dramatic interpretations and the character's afterlife.

  Jackson, Russell, and Robert Smallwood, eds., Players of Shakespeare 2 (1988). Ian McDiarmid on playing Shylock.

  Jackson, Russell, and Robert Smallwood, eds., Players of Shakespeare 3 (1993). Deborah Findlay on playing Portia; Gregory Doran on Solanio.

  Jones, Maria, Shakespeare's Culture in Modern Performance (2003). Chapter 3 on Merchant of Venice, pp. 57-100: detailed discussion of the "alien" in Merchant in Shakespeare's time and today in rela
tion to historical and modern performance.

  Kennedy, Dennis, ed., Foreign Shakespeares: Contemporary Performance (1993). With Avraham Oz's influential essay, "Transformations of Authenticity: The Merchant of Venice in Israel," pp. 56-75, which discusses performance and the play's legitimacy.

  Lelyveld, Toby, Shylock on the Stage (1960). Useful historical overview with chapter on theatrical greats such as Kean and Irving.

  O'Connor, John, Shakespearean Afterlives: Ten Characters with a Life of Their Own (2003). Chapter 4, "Shylock," pp. 95-148, detailed stage history and discussion of place of play in contemporary culture.

  Overton, Bill, The Merchant of Venice: Text and Performance (1987). Part 1 has a useful introduction to play; Part 2 discusses play in performance from 1970 to 1984.

  Parsons, Keith, and Pamela Mason, eds., Shakespeare in Performance (1995). Useful introduction to play, pp. 136-142; lavishly illustrated.

  Smallwood, Robert, ed., Players of Shakespeare 4 (1998). Christopher Luscombe on playing Lancelet Gobbo in Merchant (and Moth in Love's Labour's Lost), pp. 18-29.

  AVAILABLE ON DVD

  The Merchant of Venice, directed by John Sichel for television (1973, DVD 2007). Stars Laurence Olivier as Shylock; with its Edwardian setting and middle-aged cast, the production seems pervaded by fin de siecle languor.

  The Merchant of Venice, directed by Jack Gold for BBC Shakespeare (1980, DVD 2005). Warren Mitchell as Shylock is compelling.

  The Merchant of Venice, directed by Trevor Nunn for BBC films (2001, DVD 2003). Royal National Theatre staging with Henry Goodman as Shylock (the production discussed in his interview, above).

  The Merchant of Venice, directed by Michael Radford (2004, DVD 2005). Filmed in Venice, starring Al Pacino as Shylock, Jeremy Irons as Antonio, Joseph Fiennes as Bassanio, and Lynn Collins as Portia.